Tag: Jefferson Airplane

In ‘Revolution Blues’ from his 1974 album, ‘On The Beach’, Neil Young famously spews vitriol on the fake tinsel town celebrity life-styles of the wealthy residents of Laurel Canyon many of whom lionized the killer, Charles Manson:

“Well, I hear that Laurel Canyon is full of famous stars, but I hate them worse than lepers and I’ll kill them in their cars,” sang Young.

Forming part of his ‘Ditch trilogy’ this was Young at his most angriest and bitter. It’s probably the Canadian artists greatest song from one of his best albums that reflected his disillusionment with the idealism of the hippies as the realism of the 1970s began to take hold.

Three years earlier, one of Young’s contemporaries, former Byrds member and long-time collaborator, David Crosby, released a far more cerebral, but no less brilliant take on the pessimism of the age. Indeed, with ‘If I Could Only Remember My Name’, Crosby manages to evoke the resigned naturalist idyll of the Bay Area as a catharsis.

Among the seminal musician’s of the period who worked alongside Crosby on the album included Kaukonen, Slick, Casady and Kantner of Jefferson Airplane, Garcia, Leisha, Kreutzmann and Hart of Grateful Dead, Neil Young, Joni Mitchell and Graham Nash.

The creative influence of these brilliant musician’s is tangible, but the sound created is nevertheless ‘neutral’ and not comparable to any other kind in the bay area during the period when it was recorded.

Deeply philosophical and existential, the music and vocals exude a sadness and poignancy. Crosby appears to be lamenting a world lost in the mists of time while simultaneously yearning for spiritual redemption as if attempting to communicate with mirages or ghosts while in a trance.

This is arguably best expressed by the slow progression in the opening ‘Music Is Love’, which consists of a single verse (‘everyone says that music is love’) which is endlessly repeated by Crosby and choir in a mantra like way.

‘Laughing’ is one long note as if suspended between earth and heaven before returning to a resonating echo before it gradually fades into the silence of ‘What Are Their Names’. Possibly the weakest track on the album, the whispered tinkling guitar and harp strings of ‘Traction In The Rain’, evokes crystalline waterfalls.

‘Song With No Words’ is like an intense opera evocative of a subdued and poignant prayer in which the singing soars in a sublime flight. With the closing hallucinatory ‘I’d Swear There Was Somebody Here’, a cry of joy and despair is exuded which is a kind of corrective to the ambiguous dream and mystical states that preceded it.

The album which has influenced greatly contemporary musicians of the likes of Julia Holter and Julianna Barwick, is a tonal, harmonic and semi-baroque masterpiece akin to an impressionist painting. In the canon of rock music, it remains, nearly half a century since its release, one of the most absorbing and moving experiences in the history of the genre.

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Telepathic Surgery (1989)

The Flaming Lips

The art of the Flaming Lips bridge the punk ethos and the hippie burlesque. Their exaggerated guitar surges and maniacal drumming patterns allied with stylistic collages, create an absolutely phenomenal soundscape. Abrasive crescendos crash amid roaring motorcycle engines, tingling piano motifs and thrashing cymbals. The tempo takes Neil Young’s guitar neurosis to a new level of unorthodox psychosis. This sound is taken to its extreme on Hell’s Angel’s Cracker Factory, probably rocks most extraordinary and monumental pieces of all-time.

Gallowsbird’s Bark (2003)

The Fiery Furnaces

A cross between a deconstructed Rolling Stones, the ramshackle anarchy of The Holy Modal Rounders, The twisted delta blues of the Magic Band and the cabaret of Frank Zappa, The Fiery Furnaces create a multi-faceted style that has few precedents. The lead vocals of Eleonor Friedberger is from the Janis Joplin/Patti Smith shaman-preacher tradition. This album is bursting with chaotic creativity and fresh ideas.

Ys (2006)

Joanna Newsom

This groundbreaking piece of work merges the stream of consciousness-style of Astral Weeks with the narrative melodrama of Blonde On Blonde-era Dylan. Arguably, the highlights of this extraordinary moving album are Emily, a 12 minute tour de force of brilliant free-form vocals set against a sparse orchestral soundscape, and the spellbinding finale Cosmia. This is an exceptional work of art and one of the key pieces of the new millennium.

May I Sing With Me (1992)

Yo La Tengo

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Our Mother The Mountain (1969)

Townes Van Zandt

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After Bathing At Baxter’s (1967)

Jefferson Airplane

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Suicide (1977)

Suicide

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Rickie Lee Jones (1979)

Rickie Lee Jones

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Paris, Texas (1985)

Ry Cooder

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